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Musical Courier 1892-09-14: Vol 25 Iss 655, 1892
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1Mr. Steinert Complimented.
2The Historical Development of the Piano.
4THE following article, "The Historical Development of the Piano," appeared in the "Austrian News of Music and Drama," Vienna, August, 1892, being highly complimentary to our fellow citizen, Mr. M. Steinert. It has been translated for the "Union" by S. Spier, Esq.:
6If a professional musician strolls through the magnificent exhibition he beholds with astonishment the great collection of musical instruments that have been sent here from the art museums of all countries. It almost appears as if a pilgrimage of instruments had taken place to the Mecca, to this temple of art, under the majestic canopy of the rotunda pointing heavenward. Here for the first time in the history of music we find united in peaceful harmony the most hidden treasures that for centuries rested in deep solitude—instruments of all nations that all at once, as by the touch of the magician's wand, had been transported to a new world. All these wonderful treasures were resting in quiet concealment in museums and cells of monasteries, their faces were covered with the black veil of silent stillness of the grave, although an ideal soul life slumbered in them. Where are the sweet sounds their makers in days gone by could breathe into them? What has become of the mechanism that formerly lent life to the work?
8The keys that once served the player to entice living tones from the lifeless instrument have grown yellow, and the strings once full of melody are eaten away by modern rust.
10Suddenly there appeared like a superterrestrial fairy the art loving Princess Pauline von Metternich, and her magic call awoke them all from far and near to one great union—to a magnificent ascension. And thus we find now here in this exhibition the art historical collections of instruments of the imperial house of Hapsburg, of the princely family Eszterhazy, known for its devotion to art; also those of many archdukes and notabilities of the Austro-Hungarian empire; also the wonderful collection of the house of Rothschild, the precious treasures of art of the German empire, the private collections of the Queen of England and of the Prince of Wales, &c., and the extensive collection from Great Britain. Also France, Russia, Spain, &c., are represented here. Also the treasures of the musical and singing societies of Vienna, especially valuable in an historical sense, among them the original instruments of composers and musicians such as Bach, Händel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, and such composers as Donizetti, Meyerbeer and others.
12Worthy of consideration are the private collections of the active Mr. DeWitt from Leipsic. Full of wonder we stroll from one collection to the other and our eye feasts on the instruments, that are beautifully decorated with pictures, whose outer appearance has been enhanced by the painter's skillful hand, until we suddenly arrive at a point which we may consider as the terminus of our journey. What does this place contain? Is it ancient Rome or Greek Athens which as the celebrated homes of ancient art sent us treasures? Is it the repository of a monarch or the collection of a European museum? No, it is none of these; it is the contribution of a new country; it is young America that sends us treasures, namely the property of the art patron, M. Steinert, from Boston and New Haven.
14When the call of the Princess Pauline von Metternich was first issued to all people of the earth to send their exhibits to the International Exhibition of Music and Drama it was also heard in America. Mr. Director Heinrich Conried, in New York, whose labors in America in behalf of the German dramatic art are well known, was nominated as a commissioner and displayed great zeal in this matter, and he succeeded in obtaining Mr. M. Steinert's consent to send a part of his celebrated collection of old keyed instruments from there to Vienna.
16The collection of M. Steinert contains in its present completeness 100 exhibits of all kinds of keyed instruments, dating from the 13th century to the year 1825. Only the pedagogical part of the collection is now at Vienna, and with it is its owner, Mr. M. Steinert, who understands how to explain these old constructions scientifically, and also knows how to play on them in masterly style, which latter fact is of the utmost importance in the field of former polyphony and the works of Bach for piano, as they were written, as everyone knows, exclusively for the clavichord.
18(Here follows a description of the instruments of Mr. Steinert's collection, with illustrations, which is not published for want of space.)
20Now it might be of interest to our honored readers to find a few biographical sketches of Morris Steinert in the following:
22Morris Steinert, born March 9, 1831, at Scheinfeld, near Wuerzburg, in Bavaria, left his home as a young man of 23 years, and emigrated to America, where he officiated for some time as violoncellist in the New York Opera and also in public concerts. Afterwards he went to the Southern States as organist and piano teacher and married there; and at the breaking out of the war between North and South he gave up his position in order to officiate again as a musician in New York.
24This work as a musician, however, was detrimental to his bodily health, and following the advice of his physician he assumed a new occupation, which consisted in this, that Mr. Steinert accepted the agency of the celebrated piano factory of Steinway & Sons, of New York, and other great firms for the New England and Western States. His energetic zeal was quickly crowned with great success, so that he was soon enabled to open branch stores in seven different cities in America for each one of his seven grown up sons under the firm name of the M. Steinert & Sons Company.
26This piano business is at present one of the greatest and most celebrated in the world.
28During his leisure hours the founder of this world reputed firm occupies himself with his beloved art; and as his state of health does not permit him the continuous practice of music, he has given his attention more particularly to the collection of old musical instruments, and it can be well said of him that at present he possesses the largest collection of old keyed instruments. Mr. Steinert sacrificed much time and labor, and thus, through many journeys through America and Europe, he gained possession of all these precious treasures. But he was not satisfied like the average collectors and museums to obtain these old broken instruments merely for inspection. No! His aim was higher, more ideal. He inspired new life into these old instruments by means of thorough repairs, and he then carefully proceeded to study gradually their character of tone in order to be able to play them in the spirit of former times, in which effort he was materially assisted by his wonderful talent of improvisation, so that at present he stands unsurpassed in this highly interesting field. As has been stated before, Mr. Steinert is now a guest within our walls as a disinterested interpreter of an epoch of art which was almost believed to be lost. Musicians and friends of art can surely expect an artistic treat while inspecting the incomparable collection of Mr. M. Steinert.
30Vienna, July, 1892.
31G. KUEHLE.
32—New Haven "Union,"
34Another Factory.
35Pianos at Stockton, Cal.
36("Republican," Stockton.)
38A PIANO has been built in Stockton. It is the best Piano ever made anywhere.
39It is the first of its kind.
40It will be followed by thousands added to thousands many times, and by and by Stockton will be known by its Pianos all over the world, wherever Pianos are sold or used.
42The instrument is patented in many respects. The pinboard or the base to which the strings are attached is the invention of Mr. Henry Muller, after whom the Piano will be named by the manufacturers. It is of iron—it was made here—and is the first one of the kind ever made. The pins to which the strings are attached are slightly conical and fit into conical perforations in the metal pinboard, being inserted from the rear, so that in tuning the pin is drawn firmly to its place, whence it can never move. Pianos as heretofore built have wooden pinboards; the pins, having such tremendous strain upon them in stretching the strings—as much as 600 pounds to a string—naturally become loose and not unnaturally sometimes split the board. The metal board they cannot split; with the conical pin in a conical socket they cannot get loose.
44The Muller Piano also has a patent sounding board. This is, of course, of wood, but it is constructed upon an improved plan. It is braced at the back so that it is impossible for it to warp, and tension is secured by the method in which the board is secured to the pinboard, which is so beveled on every side that when the sounding board is bolted in it can be drawn down to the point of perfect reverberation, and must remain there forever.
46There are other improvements that will be found only in the Muller Piano, which may be seen by those interested at the Piano store of E. H. Cary, 311 Market street, corner of American.
48The Instrument on exhibition is a cabinet grand, the largest size in which upright Pianos are made. It is of polished oak and is extremely handsome in design and ornamentation. Those interested in the enterprise are J. V. Logan, O. E. Williams, E. H. Cary and Henry Muller. Mr. Muller is a practical Piano maker who has had years of experience in Germany, and who is, as above stated, the inventor of the improvements introduced in the Muller Piano. One of the improvements, and a very important one, is the extra length of strings secured by the method of putting them in.
50The present Instrument is an experimental one, and as it is such a perfect and complete success the men mentioned will at once establish a factory and without any delay begin the construction of Pianos, confident that the superiority of the Instruments they make will give them practical control of the market for first-class Instruments.
52"We shall reach out for the trade of the whole earth," said Mr. Williams, "and as soon as we can get transportation for our Pianos we will invade the markets of Mars."
54Thus Stockton is assured of another establishment that is likely to employ hundreds of mechanics.
56The tariff on Pianos is 45 per cent.; if the manufacturers had to abate 45 per cent. of their just prices would they be likely to go into this enterprise? If they do go ahead—as they surely will—will not all Stockton be benefited?
58Proposed New Organ Factory.
59C. W. WINDER and son, C. F. Winder, are now manufacturing metal organ pipes on a limited scale in the building on East Bethel street, near the corner of Potomac avenue. To-day C. F. Winder left on a business trip to Ohio in the interest of his wares. These gentlemen propose extending their business by organizing a company for the manufacture of organ pipes and with a view of erecting an organ factory and the making of both reed and pipe organs later.—"Globe," Hagerstown, Md.
61Sterling.
62The stockholders of the Sterling Company met in annual session Tuesday of this week and re-elected R. W. Blake, J. R. Mason and Chas. H. Hubbell directors. At the directors' meeting which followed R. W. Blake was made president, J. R. Mason secretary and Chas. H. Hubbell superintendent. The usual dividend of 10 per cent. was declared. The company has had an unusually prosperous business during the past year and is now putting up some new buildings which will make it possible to show a larger increase in production the coming year.
64THIS is from the Birmingham "Evening Transcript," and THE MUSICAL COURIER merely desires to indorse the above statements and facts. The Sterling trade has grown beyond the fondest hopes of Rufus Blake and young Mason, and we take advantage of our privilege to congratulate both gentlemen upon their success.
66More Inquiries.
67Editors Musical Courier:
68Will you tell us through the columns of your valuable paper if Marchal & Smith Piano Company, of your city, manufacture their own Instruments? If not, who does? What is the standing of these Instruments as to Musical value? Are they first class, or what grade are they? How do their Organs compare in Musical value to the E. P. Carpenter and Weaver Organs? Is Marchal & Smith's guarantee a full protection against any loss by their customers should the Instrument prove defective? By answering this you will enlighten a great many people of this part of North Carolina.
69Yours truly, JOHN M. DAVIS.
71MARCHAL & SMITH do not manufacture; they stencil. Their Organs are consequently low grade, just as their Pianos are; but Mr. Smith is a nice man, all the same. They cannot guarantee anything in the sense of the usual warranty, because they do not manufacture. They can guarantee that the moon is made of green cheese, but it does not count.
73A Monster Piano.
74IT has recently been reported that one of the wealthiest men in Russia, Mr. Nechageff Malizeff-Obrugaff-Polidofsky, has given a remarkable order to a Parisian piano manufacturer. The order is for an instrument which is to cost no less than £1,000, is to be of unusually large dimensions, is to have half a dozen legs to stand upon, and is to emit sounds three times as loud as the ordinary instrument. It is clear that only the barbaric and Oriental magnificence of the Muscovite imagination could have devised this singular departure from the control of custom. Hitherto, as everybody knows, a merciful moderation has reigned supreme in the matter of the size of the piano.
76Everybody has hitherto known the size and power of the most powerful grand piano, and has in the strength of that knowledge been able to take comfort from the fact that there are limits to the tortures which can be inflicted upon society. But the Russian millionaire's proceeding opens up a long vista of unpleasant possibilities. If one man orders a piano three times as strong as any hitherto constructed, we may take it for granted that some other man—probably a citizen of the United States of America—will order an instrument three times as potent as this one. Of course, if the Russian would play his piano on the lonely steppe and the American would retire with his to the boundless prairie, all would be well.
78But they won't. In fact that is just what they will not do. They will, on the contrary, seek cities, and will strive to set the fashion. Not being of those who desire the accomplishment of the social revolution and the advent of anarchy, we sincerely trust that the fashion will not be followed, for if it is the outraged masses will rise in their might all over the world and make short work of the musical monsters. From every point of view the idea of this Russian must be regarded as a highly dangerous development.—Wilkesbarre "Record."
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